Dialogues in Cuban Archaeology

Rock Art Research in Cuba / 97
are deeply appreciated. I also wish to express my gratitude to Dr. Rivero’s
wonderful family, especially Daniel Rivero and Gisela Ibarra, for providing
me a home away from home in Havana, as well as sources used in this work.
Among those who facilitated my research in Cuba, I must acknowledge
Alejandro Alonso and Marta Arjona, who arranged my visit to the Fundación
de la Naturaleza y el Hombre, the faculty of the CUNY Graduate Center,
and, especially, Reynold C. Kerr, whose many contributions to my work include
the preparation of the ¤gures for this chapter. I also thank my editors,
Shannon Dawdy, who invited me to participate in the SA A forum, and her
co-organizer, Gabino La Rosa Corzo, who shared his expertise on rock art in
Cuba and also provided me with valued resource materials. I am particularly
grateful to their coeditor for this volume, L. Antonio Curet, for his insightful
comments on early versions of the text and for gently nudging me toward its
completion. Thanks are due also to José Oliver for his comprehensive review
and helpful suggestions.
AUTHOR’S NOTE
Translations from Spanish are by the author.
NOTES
1. Greer de¤nes the “dark zone” as the area of a cave “where observation [of the
rock art] is possible only with arti¤cial light.” He de¤nes two other zones, the “entrance
zone,” where rock art may be viewed in broad daylight, and the “twilight zone,”
where rock art may be viewed with “limited indirect light” (Greer 2001:677).
2. Guarch Delmonte and Rodríguez Cullel (1980:55) record the use of iron oxides
(hematite) to produce a range of colors, from orange to the most intense reds.
3. In 1914 Theodoor de Booy, also of the Museum of the American Indian, Heye
Foundation, explored the eastern tip of Cuba. His ¤ndings, together with the encouragement
of Dr. Luis Montané, of the University of Havana, prompted the museum
to sponsor further investigations in the area (Harrington 1921:22).
4. This work may have prompted Ortiz to revisit Lane’s discovery at Punta del
Este.
5. He also extracted a portion of one of the pictographs for study in the Museo
Antropológico Montané (Herrera Fritot 1939:17).
6. The image is reproduced in full color in The Art and Archaeology of Pre-
Columbian Cuba (Dacal Moure and Rivero de la Calle 1996:58).